Introduction
McIntosh has been nothing short of an American institution in the world of high-end audio for over 50 years. While McIntosh is best known for their stereo gear from the tube era, they have kept their line current with modern components such as music servers and multi-zone audio-video preamps, or “controllers,” as McIntosh calls them. McIntosh’s newest such controller is their MX-136, which at $9,500 (as configured with TM-1 tuner) occupies the top position in the tier of McIntosh AV preamps.

Opening the MX-136, I found that McIntosh eschewed trendiness in favor of tradition. While most of the new A/V preamps I have seen at recent trade shows are small to medium in size, with either TFT screens or multi–line LCD and rows of same-sized buttons. The MX-136 is a full-sized unit with a nine-inch-tall by 17-and-three-quarter-inch-wide faceplate on an 18-and-three-quarter-inch-deep chassis, weighing 31 pounds. I first found the large faceplate to be a bit awkward, but soon came to appreciate its ability to transmit the needed information with elegant simplicity.

As one would expect, the MX-136 is a full-featured AV preamp that can decode Dolby Digital EX, Pro Logic IIx, DTS-ES and NEO:6. In addition to these now-expected audio formats, the MX-136 has unanticipated and welcome assets, such as two balanced audio inputs and a Moving Magnet Phono input. The MX-136 also has a pure analog audio path available for optimum stereo sound quality. The volume control is a digitally controlled unit that ensures that all eight channels track within .5dB.

The MX-136 is no slouch in the video department either, with video
up-conversion from composite and S-Video to component and then to HDMI.
HDMI video signals up to 1080p can be switched, but not processed.
Composite, S-video and component 480i/p signals can be up-converted to
480p, 720p or 1080i signals.

The faceplate features McIntosh’s traditional black glass framed by
silver vertical corner pieces. The glass features silk screening on the
reverse side to protect against wear. A large display, which crosses
the center section of the faceplate, reads out the sources for inputs A
and B flanking the volume, all displayed in McIntosh’s trademark blue
hue. To each side of the central display is a trio of traditional
silver knobs arranged in an inverse triangle. The knobs to the left
select the B input and adjust trim levels; the knobs to the right
select the A input, volume and surround mode. The glass panel beneath
the main display has backlit indicators, which show the incoming and
outgoing signals, as well as the signal format. For example, if an
incoming signal is two-channel stereo, only the L and R symbols will
light up, a 2.1 signal will cause the “Sub” symbol to light as well,
etc. A row of rocker buttons across the bottom selects a variety of
functions, including tuning, power and so on. While it sounds complex
and looks a bit old-fashioned at first sight, the MX-136’s front panel
is extremely easy to use and elegant in its simplicity.

Despite the large size of the back panel, there is very little blank
space. All 11 analog audio inputs and three outputs are accompanied by
dedicated composite and S-Video jacks. There are two pairs of balanced
inputs, an eight-channel input, balanced and single-ended eight-channel
outputs, DB-25 multi-channel output and zone B output. There are also
three optical inputs, three coaxial digital inputs, three digital
outputs and three antenna inputs. On the video side, there are four
HDMI inputs and five component inputs, with one output of each format.
In addition to the plethora of inputs and outputs just described, there
are various control ports that allow the MX-136 to be controlled by
remote keypads and custom control systems, such as Crestron, AMX or
Control 4.

Set-Up
I started my MX-136 experience by placing it into my stereo system in a
set-up as similar as possible to the one for the McIntosh C-220 stereo
preamplifier I recently reviewed. I used Classe’s CDP-202 CD player as
a source, feeding the McIntosh through its balanced analog inputs and
Krell’s Theater Amplifier Standard for power. Connections were by
Cardas’ Golden Presence line and speakers were Martin Logan Summits.
The antenna utilized was Magnum Dynalab’s ST-2.

I then transferred the MX-136 to my theater system where it belonged. I
was thankful for the four HDMI and five component video inputs, which
allowed me to connect all my sources without sacrificing video quality.
The MX-136’s limited digital audio inputs, three coax and three
optical, proved to be restrictive, as the HDMI inputs on the MX-136 are
video-only. While many who are in the know argue that digital audio
over HDMI suffers from increased jitter and that a separate digital
audio connection provides superior quality, there should be additional
digital audio inputs if this is the chosen route. This becomes
especially important if you wish to utilize the high-quality DACs in
the MX-136 rather than those in your source units. Lastly, not being
able to accept audio over HDMI precludes the possibility of accepting a
high-resolution multi-channel PCM signal, which is currently only being
output over HDMI.

I connected my Marantz DV-9600 DVD player and Toshiba XA2 HD DVD via
HDMI. The rest of my sources were connected by component and S-Video. I
utilized the MX-136’s up-conversion capabilities, so that I only had to
connect my Marantz VP-11S1 projector via HDMI.

Setting up the unit required pressing a button on the front panel to
enter the set-up mode. Once in the set-up mode, I was easily able to
navigate my way through the menus, renaming the inputs to describe the
sources I was actually using. The MX-136 lacks the automatic
calibration features found on many popular high-end receivers, as most
purchasers of this McIntosh will have the unit professionally installed
by their dealer. Nonetheless, I was able to set the unit up quickly,
using my trusty and affordable Radio Shack SPL meter.

The McIntosh comes with a comprehensive owner’s manual that does a very
good job of spelling out all the various set-up options and what the
various choices mean. Even though most people who purchase this unit
will have it professionally installed, the manual will be informative
for those who are curious about the MX-136’s operation and the
technology it contains.

Music and Movies
In order to compare the stereo preamplifier capabilities of the MX-136
to the C-220, I listened to some of the same music I used to review the
C-220. Playing the track “Your Latest Trick” from Dire Straits’
Brothers in Arms album (Warner Brothers), I found that the soundstage,
when played through the MX-136, was very slightly compressed when
compared to the C-220, but still very good, especially in width.
Imaging was precise within the soundstage. Mark Knopfler’s vocals were
slightly thinner through the MX-136, but still easily recognizable as
his. The instruments were clearly portrayed with good detail. However,
I found that there was a very slight glare, not uncommon with a good
share of solid state gear, on the brass instruments.

I then listened to Peter Gabriel’s album So (Geffen). The track “Don’t
Give Up” features a duet with Gabriel and Kate Bush. Bush’s vocals were
portrayed with good accuracy, detail and no audible harshness. The
MX-136 was again slightly less palpable than the C220, particularly
through the midrange, and had a bit of dryness compared to C-220’s
tubes, as any purist might expect. Nevertheless, when compared with
other high-end AV preamps, it’s easy to hear how the McIntosh is true
to its roots. Audiophiles will not be disappointed in the musical
reproduction from the MX136, even if it splits its time playing back
movie soundtracks.

Before moving to multi-channel audio, I listened to the optional TM-1
AM/FM tuner module. The area that I live in, outside of Los Angeles, is
surrounded by foothills that make the clear reception of FM radio
signals nearly impossible. I was never able to get a signal that came
close to CD quality (as some suggested I might), but the tuner’s sound
quality equaled that of any standalone tuner that I have used in this
location. The tuner’s performance as far as excluding interference from
nearby stations (likely an effect of my location) was extremely good,
as was its ability to pick up weak signals. I have no doubt that, in an
area with moderately decent radio reception, this tuner unit would be a
serious performer for those who still dial in some FM music from time
to time.

Multi-channel audio and movies is what the MX-136 was built for and it
absolutely shines when used for these purposes. Watching Pirates of
the Caribbean: At World’s End (Buena Vista Home Entertainment) on DVD,
I looked at the picture both from running HDMI out of the Marantz
DV-9600 and component video (both at 480i), and had the MX-136 compare
the signal to HDMI. In the past, with other processors, I have noticed
severe artifacts resulting from this conversion. However, with the
MX-136, there were no artifacts and the component video converted to
HDMI video signal was completely watchable. Comparing the two signals,
the pure HDMI signal appeared crisper and with slightly less noise,
which I attribute in great part to the quality of the originating
signal. The audio performance of the MX-136 with this movie was quite
strong. The bass notes of the cannon fire were deep and powerful as
expected. The characters’ individual voices were extremely natural and
easily discernable throughout the multitude of people talking in the
crowded scenes. The MX-136 was able to separate the various sonic cues
without being overly analytical and dry.

I first became aware of The Transporter (Twentieth Century Fox Home
Entertainment HD DVD) during a recent DTS demo. I never saw the movie
until a friend of mine loaned me the HD DVD (yes, I have friends who
actually bought HD DVD players, as well as discs) while I was reviewing
the MX-136. The Euro-techno music that permeates the film’s soundtrack
was never overly harsh or brittle. There is a fight scene in which the
lead character storms the antagonist’s house. As with Pirates, it was
easy to track individual voices and sonic cues throughout the scene. I
noted that the MX-136 does not simply gloss over or beautify every
signal it is fed. This film is full of fight scenes and explosions that
have many effects dubbed in, some of which are poorly done and easy to
identify when listening through the MX-136.

Diana Krall’s multi-channel music album Love Scenes (DTS DVD-Audio) is
full of lush jazz vocals that let the MX-136 really shine. Many AV
preamps can do a decent job with movie soundtracks, but multi-channel
music can be much more challenging. Krall’s sultry voice on “Peel Me A
Grape” was reproduced with an artful blend of liquid smoothness and
detail. The MX-136 did an equally fine job with her voice on “All or
Nothing at All,” during which I could close my eyes and come so very
close to placing myself in the room with Ms. Krall and her band. Don’t
tell Elvis.

The Downside
I was disappointed with McIntosh’s decision to make the HDMI
video-only. While I understand that the digital signals that are
transmitted via HDMI are allegedly more prone to jitter problems than
the same signals transmitted via coaxial cable, it would be nice to
have the option. The new high-resolution audio codecs are only
transmitted via HDMI. Being unable to accept audio via HDMI precludes
the MX-136 being able to be upgraded to decode these codecs.

Assuming that the new audio codecs are of no interest to you, not being
able to use HDMI to accept incoming digital signals leaves the user
with only six digital audio inputs. Many of today’s high-end home
theaters are going to have more than six sources that could benefit
from the MX-136’s DACs and/or decoding.

While most people who will buy the MX-136 will have it professionally
set up, there are those of us who like to do it ourselves or may simply
want to tweak the settings on occasion. I would like to be able to
enter the set-up menu via the remote control. With the MX-136, you must
press and hold the set-up button on the unit’s front panel. This can be
quite inconvenient when the unit is remotely situated, such as it is in
my system.

Lastly, at this price range, many people will expect the latest bells
and whistles, such as automated set-up and equalization, HDMI 1.3
support, etc. Those who need these features will have to look
elsewhere. For the majority of us, those features or the lack thereof
should not be an impediment to enjoying what the MX-136 has to offer.

Conclusion
The MX-136 is competing with the upper echelon of home theater
processors. The McIntosh can accept numerous sources and use them to
produce superior sound quality with the currently available audio
codecs. A concern with the MX-136 and most other high-end AV preamps is
that they cannot accommodate the new audio codecs, except through their
7.1 analog inputs. Some of the processors attempt to circumvent this
problem through modular construction and firmware upgradeability, but
it remains to be seen if these upgrades will work.

The McIntosh processor lives up to the company reputation of providing
excellent audio performance. Video performance is quite good, but not
up to the quality of the better standalone processors. The MX-136 is an
elegant processor that foregoes having the very latest cutting-edge
bells and whistles for solid, easy-to-use performance in both the
theater and music arenas.